In the meantime, the Online Film Critics’ Society have released their end of year awards. Thrilled to be a part of the group, who are voting on films released internationally during the calendar year of 2018. As such, it will be a different pool of films than the Dublin Film Critics Circle awards.

There’s a lyrical beauty to Roma, a decidedly intimate and personal project for director Alfonso Cuarón following on from his triptych of more mainstream fare.

Roma is a very different beast from Harry Potter and the Prisoner of Azkaban, Children of Men and Gravity. It is much smaller in scale, focusing on the life of a maid who works for a slightly-above-middle-class family in early seventies Mexico city. Shot in black and white, often favouring quiet scenes and still shots, there is an observational aspect to most of Roma, a sense in which the movie very gently and very elegantly watches life unfold in slow motion without any sense of hurry or panic. For most of its runtime, Roma is content to just be.

This is not a surprise. After all, Cuarón has been candid about how much of the film is drawn from his own childhood. Even without that outside knowledge creeping in, Roma seems to tacitly acknowledge it in the central role that the cinema plays in the story. At one point, the young children take a trip to the picturehouse to see the space thriller Marooned, with Cuarón making a point to showcase a sequence that evokes his own work in Gravity. As much as this is a story about a young woman who works as a maid to a privileged Mexican family, it is undoubtedly filtered through the lens of childhood.

Although nominally set against the backdrop of early seventies Mexico, Roma repeatedly suggests that the larger world is but the echo chamber for the uncertainty and tumult within a family unit; when earthquakes happen and revolutionaries march, they are simply expressions of more intimate traumas and challenges facing these characters. In the world of Roma, it is as below as above, reflecting the way in which a child might see the outside world as nothing more than an extrapolation of the home life that they know so well.

This lends Roma an almost magical quality. Although the film and its characters are complex and developed, there is something poetic in the way in which Cuarón chooses to tell this particular tale. Cuarón never rushes or hurries his characters, instead giving them room to breath. He finds a zen-like calm in the stability of the everyday, the safety of routine against the backdrop of larger anxieties and uncertainties. The characters in Roma repeatedly navigate life-changing events, but underscored with a childlike certainty that they can survive them.